Professional Documents
Culture Documents
COMMUNICATION IN SUSTAINABLE FASHION BRANDS ‐ CASE STUDY
RAPANUI CLOTHING
MARIANA BEZERRA MORAES DE ARAÚJO1, ANA CRISTINA BROEGA2, SILVANA MOTA‐
RIBEIRO3
1
Universidade do Minho, mbmaraujo@gmail.com
2
Universidade do Minho, cbroega@det.uminho.pt
3
Universidade do Minho, silvanar@ics.uminho.pt
Abstract: This paper aims to make an analysis of the importance of communication in the success and
dissemination of brands, specifically in the sustainable fashion brands, observing how communication works
in the dissemination of sustainability and how it can be an advantage for brands, working as a strong
element of their communication strategies. Thus issues related to sustainability in fashion and the
appearance of sustainable fashion brands, trying to realize which are their dynamics, are addressed here. It
is also studied the importance of communication, how it acts in the promotion of the brand image and its
relationship with the target audience, making the audience to realizes its sustainable fashion practices. The
investigation methodology used in the research consists of an analysis of tools/media communication used
by sustainable fashion brand Rapanui Clothing, trying to understand whether the brand effectively
communicates its sustainability.
Key Words: Brands, fashion, sustainability, communication.
1. Introduction
Inserted in a context where the issues related to environmental degradation and social problems
increasingly affect people's lives, such that became a concern not only of the governments, but also of the
society itself for some years. In this scenario, observing a new behavior of society, which demands greater
social and environmental responsibility by business, many of them are adapting, trying to incorporate more
sustainable practices; others appear with sustainability practices inserted in their own concept, such as the
case of sustainable fashion brands. These brands, that despite integrate an industry in which is
predominant the encouragement of consumption and harmful practices to the environment; they note the
need of the industry adjustment; result of the emergence of a new market demand, where begin to appear
more conscious and responsible consumers, that prefer to buy products from ethically correct brands.
Thus, sustainability starts to be a part of fashion; even strong brands in the industry also try to integrate
sustainable practices in their production. It can be said that the media and environmental actions have an
essential role in this, as they contribute to publicize the sustainability issue among the population. Still, it is
noted the existence of a gap between the sustainable fashion brands and the public, which often does not
know what "sustainability", "being green" means, or simply do not know sustainable fashion brands.
Therefore, it can be highlighted the importance of communication for the promotion of these brands,
making reach the consumer both the brand image, as the concept of sustainability.
Therefore, this paper is the result of the research carried out along the Master in Fashion Communication
Design, which had as one of the goals develop a research with an emphasis on communication of
sustainable fashion brands, and as one of the case studies the brand Rapanui Clothing. So, trying to realize
that communication strategies Rapanui Clothing uses to reach its target audience. Thus, this article aims to
answer the following question: Which communication strategies sustainable fashion brand Rapanui
Clothing is using to reach its target audience and disseminate its concepts of sustainability? In order to
answer this question, a brief reflection on sustainability in fashion and sustainable fashion brands will be
presented, as well as the importance of communication in the promotion and knowledge that people have
about the brands. Next will be done an empirical analysis of the communication strategies used by the
Rapanui Clothing, which is the case study of this work.
2. Sustainability in fashion and the sustainable fashion brands
The fashion industry has a central role in social life since, among the goods we consume, clothes and
accessories accompany all our lives and our way of being socially. It is a system characterized by
encouraging consumption and fast disposal, where fashion follows trends, which lead to a programmed life
cycle that imposes fast and early disposal of products, whether these are or not in good condition, but
leave "being fashionable". The accessibility of fashion, provided by the new technologies and globalization
also contributes to stimulate consumption, where we observe the speed with which new trends arrive in
stores and information reaches consumers, who are increasingly encouraged to consume (Refosco et al.,
2011).
The fashion industry in all its production stages involves the expense of natural resources. The fashion
system may involve, for example, from the "production and planting seeds for obtaining raw materials of
textile substrates to millions of workers and their various functions in different countries of the world"
(Berlim, 2012, p.26). That is, it is noted the predominance of a fashion system harmful to the environment
(through exhaustion of soil for example) and the well‐being of the people involved in the process, where
many of the brands prefer to produce in countries with weak labor laws and poor working conditions. The
environmental impacts are related to energy consumption, use of toxic products (linked to cotton
production), water consumption, and effluents production by chemical, generation of solid waste and
damage to the soil and water (Berlim, 2012). In this context, the fashion industry eventually causes social
and environmental negative impacts.
It is precisely because of such damage caused by the fashion industry that there is a need to think in a
sustainable fashion that takes into account the principles of sustainable development, thinking about the
environmental and social issues. Thus, in a predominantly harmful system, begin to emerge concrete
actions, either through recycling, reuse and reduction; or the use of organic cotton, ecological printing and
dyeing, use of "vegetable leather"; besides practices related to social aspects, worrying about the well‐
being and human rights of both their direct employees as well as suppliers. Therefore, sustainable fashion
concept should incorporate, in addition to environmental aspects, social and economic too; not limited to
produce in a more environmentally friendly way, but worrying about things like working conditions and
manpower used by the industry.
At the same time, It can also be mentioned the appearance of a new type of consumer who is more alert
and informed; that looks for products to live better and identifies itself with issues linked to well‐being,
quality of life, social responsibility, happiness, freedom, environment, among others (Valente, 2008). In the
literature, these individuals are referred to as LOHAS (Lifestyle of Health and Sustainability), which would
be people with healthy lifestyles and focus on sustainability. These adopt a lifestyle based on health and
the physical, social and well‐being. It can be said that the consumer is a social actor in the consumption of
sustainable fashion brands and that education and knowledge are the mainly responsible in its behavior
change (Morais et al., 2011).
The new consumer has questions and new values, seeking different ways to consume fashion products
(Rech & Souza, 2009); he demands greater social and environmental responsibility of brands. This change
of consciousness in the population makes that companies start to worry about incorporating processes that
contribute to sustainable development to preserve the environment. In this context, begins to appear
sustainable fashion brands geared specifically for sustainability globally, where the sustainability is part of
CIMODE 2016 - 3º Congresso Internacional de Moda e Design | ISBN 978-972-8692-93-3 453
the brand concept itself. Brands care about both social aspects, as well as environmental and economic
aspects. Not only ecological factors of production, but also the working conditions of people involved in the
process, as is the case of Rapanui Clothing, object of study of this work.
Despite of this new consumer, it is noticed that there is a gap between sustainable fashion and consumers,
since in fashion many still do not realize the relationship of their consumption habits with their personal
gain, do not understand the impact on the environment through their choices, or simply, have little
information on sustainability in fashion and existing sustainable fashion brands. It is perceived that for a
profound change in the fashion system is required the joint attitude of new design proposals, which make
products with a long life cycle, as well as educational movements in order to raise public awareness and
build a consumer conscious (Refosco et al. 2011). Not to mention the role of communication in awareness,
working in the dissemination of sustainable fashion brands and concepts of sustainability.
3. The brand communication
Currently, communication plays a central role in social life. The technological development of the past few
years contributed so that access to information has become faster, in which anywhere in the world you can
stay informed, you only need to be connected to the Internet. In this context, people also began to take a
more active role, increasingly involved and informed, no longer being just "consumers" of information, and
also being producers. In the scope of brands, they realized the importance of having a corporate
communication system strategically organized for their survival and development, where the
communication is an essential part for placing the brand in the market, guiding them and promoting
dialogue with their target audiences, which is essential to boost the brand strategy so that it becomes
strong and recognized (Macedo, 2012, p.08).
The brands realize the importance that communication has in their dissemination and start to invest in this
way, since it is mainly through communication that consumers get to know the brands and their products,
its identity and concept. Ruão sustains the importance of communication for a brand to become known and
reach its audience. For the author, the communication is necessary for the survival of the brand without it
consumers would not know of its existence (Ruão, 2000, p.11).
For Vásquez, there are two reasons influencing the consumer in purchasing the product of a particular
brand. First, because it transmits some sensations and he identifies with it. The second is related to
something that consumers aspire in terms of image, something he does not have and the brand can
provide. In this sense, the essence of the brand goes through meaning, values, lifestyle and concept. Here it
can be pointed out the importance of communication in building the image and promoting a brand
(Vásquez, 2007).
The communication should be based on brand identity and aims to build an image relating to the identity,
in other words, it acts as a transmission mechanism, “which acts as a transforming element or a encoder of
the message into identity, and creator of the necessary conditions for distribution to target audiences
(Vásquez, 2007, p.207). Therefore, sustainable fashion brands should make reachs the public its identity, its
concept, which has its own sustainability built into it. They should set an effective communication strategy
in order to survive and stand out in the competitive market, these strategies must take into account a
number of variables related to the organization itself, determining objectives and available resources; with
the target audience, it is essential to know who they are and what they think of the company; and the
message, by which means it will be sent and how it is structured (Argenti, 1998).
At the same time, it can be addressed the importance of sustainability in corporate communication.
Sustainability is "fashionable" and several brands have already noticed this, they use the concept as a
marketing tool, where in recent years there is a growing "green" wave. Sustainability is "fashionable" and
several brands have already noticed this, they use the concept as a marketing tool, where in recent years
there is a growing "green" wave. It ultimately add value to the company, since, as already mentioned, the
issue is highlighted and people demand more and more social and environmental responsibility of the
CIMODE 2016 - 3º Congresso Internacional de Moda e Design | ISBN 978-972-8692-93-3 454
companies. Thus, the fact that the companies is truly concerned with the issue, and have in their policy the
sustainability practices, is an excellent strength to be enhanced in communication.
4. Methodology
This article is based on a research on the communication of sustainable fashion brands, using as a case
study the British brand Rapanui Clothing. The brand was selected through a preliminary assessment made
for a dissertation research during the Master in Fashion Communication Design; and, through well‐defined
sustainability criteria, it was concluded that Rapanui Clothingt is a sustainable fashion brand. (Araújo,
2014).
For the development of the investigation, it was decided to initially make a literature review on the subject,
which analyzed books and papers on the subject and that were part of the state of the art of this study.
Secondly, to analyze the brand communication of Rapanui Clothing, an analysis grid of tools/media
communication was developed to try to realize how the Rapanui Clothing communicates their products and
possible failures in this communication. The analysis was done with the assistance of information collected
online, through the website, blog and social networks.
The grid development was based on the communication mix established by Morais (2011). According to the
author, communication is a strategic element of the brand and fundamental part for the creation and
transmission of image and its personality. Thus, companies must communicate through an integrated
communication process that uses various communication elements. Accordingly, the grid (table 1) is
divided into 6 areas based on communication mix for fashion brands: advertising, sales promotion, public
relations, direct marketing, Internet and other (shows, catalogs, showrooms, etc.) (Morais, 2011). All
elements are important means for communication of a fashion brand and hence for sustainable fashion
brands.
In this sense, the advertising would be a paid form of communication used by the brand to advertise their
products and services or the organization itself. Here it is intended to realize if the selected brand
advertises in newspapers, magazines or other means. The sales promotion is focused on action to intensify
the increase in sales (Morais J. , 2011). In this study, the goal is to see if the brand makes sales, discounts
(using cards, coupons, etc.) and samples, which are the product offerings.
Moreover, direct marketing is a method based on the individual customer records in a database that
brands have. It can be done via direct mail, which is the custom shipping materials through letters, catalogs,
brochures, among others; or e‐mail or text messages, which is done by using e‐mails or phones.
Another point to be evaluated is the tools based on the Internet, which occupy an essential role in the
communication of current fashion brands. Therefore, this paper will try to realize if the selected brand has
website and its own blog; if is present in social media such as Facebook, twitter, among others; if uses
newsletter, that would be an electronic mail about the brand; and other tools related to the brand.
In parameter "other" from Table 1, is intended to assess whether the sustainable fashion brand participates
in fashion shows, fashion fairs, if it has showroom (where you display the collection to clients and
journalists promoting the brand) and has catalogs.
The public relations tool is considered one of the most effective in communicating fashion brands; here the
tools evaluated were publicity, endorsement and product placement. The first is a non‐personal
communication of the company, which is not directly paid or has sponsor identification, may appear in the
form of news, editorial or advertisement. In the case of fashion brands can be when the brand appears in
reports or a celebrity is wearing something of the brand. When important people related to the brand
appear in the media or even when journalists write about the brand spontaneously (Morais J. , 2011). The
endorsement is related to the sponsorship of celebrities, dressing them. The product placement is the
linking of products in films, novels, and series, among others.
CIMODE 2016 - 3º Congresso Internacional de Moda e Design | ISBN 978-972-8692-93-3 455
Table 1: Communication Analysis. Source: Araújo, 2014.
Tools/Media of Brand communication Yes No
Advertising Newspaper X
Magazine X
Other X
Sales Promotion Sales X
Discounts X
Samples X
Public Relations Publicity X
Endorsement X
Product Placement X
Direct Marketing Direct Mail X
Electronic Mail or text messages X
Internet Site X
Social Media X
Blog X
Newsletter X
Outros X
Others Catalogs X
Fashion Shows X
Fashion Fairs X
Showroom X
The arrangement of the communication grid (Table 1) is simple, as its fill, and based on the principle of the
presence or absence of these media and tools for the brand. The "no" in the table characterizes that the
brand does not have the tools or the information was not found and the "yes", that they are present.
5. Analysis of results
The brand that served as a case study for this work is the Rapanui Clothing. It was launched in 2009, the Isle
of Wight, England. It is male and female casual ecological Clothing brand, that sells t‐shirts, sweatshirts,
socks and bags; all parts are made with organic and recyclable materials in an ethically accredited factory,
which uses wind power in India. The pieces are handmade finished in the factory located in England.
Furthermore, the Rapanui Clothing is considered a sustainable fashion brand because it incorporates in its
own concept concern for environmental and social issues, applying aspects such as concern for human
rights, which defends an ethical position in relation to all the people involved with the brand, even with its
suppliers, working only with suppliers that comply with the practices that the company stands for and with
the concern to inform consumers about the origin of their products. It also has as a principle contributing to
the development of the local economy and job creation. It is involved in causes of social nature, producing
collections where the sales revert to social causes, such as helping homeless people. In the environmental
context, the brand only uses organic cotton developed a low‐waste printer to print the clothes and uses
CIMODE 2016 - 3º Congresso Internacional de Moda e Design | ISBN 978-972-8692-93-3 456
wind energy in its factories (Clothing, 2009). These are some of the characteristics that make Rapanui
Clothing a sustainable fashion brand. It can also be pointed out that Rapanui provides online information
related to its concept and its sustainable practices, managing to convey to the audience that it is a fashion
brand with sustainable concerns, even if this transmission is not made in an systematized and educational
way.
By observing the communication tools used by the Rapanui, it was found some difficulties to be aware of all
the tools/media that the brand uses in its communication. The information is dispersed and the analysis
was made using information collected in the internet on site, blogs and social media of the brand, it was
not possible to find all media and tools that Rapanui Clothing uses and when contacted the brand did not
show availability to be interviewed during this investigation.
Table 1 shows the analysis of the brand communication. Regarding advertising, it was not found any
information about tools used by the brand.
In sales promotion, there was no reference on sales verified. But it was found that the brand uses discounts
as a way to increase sales, which signs the Rapanui's newsletter can access discount vouchers. The brand
also offers samples, which makes purchases worth more than £15, get a pair of socks and has free delivery.
In the analysis of public relations, it is clear that the brand uses publicity as a communication strategy.
Figures 1 and 2 are examples of this form of public relations used by the brand. The first is the image of the
brand's founder interview in the CNBC television channel that covers business news; and the second one,
the visit of Countess Sophie Wessex1 to the Rapanui’s headquarters, in which she met the brand's founders
of the brand, which made headlines in Britain's Daily Mail. No information was found on the endorsement
and product placement. The same happened in relation to direct marketing, where it was not possible to
verify if the brand uses this tool.
Figure 1: Interview in CBNC. Source: Clothing, 2009.
1
Wessex was one of the seven major Anglo-Saxon kingdoms that preceded the Kingdom of England.
CIMODE 2016 - 3º Congresso Internacional de Moda e Design | ISBN 978-972-8692-93-3 457
Figure 2: Visit of Countess of Wessex to the Rapanui’s headquarters. Source: Styles, 2014.
The Rapanui has a strong presence in the media connected to the Internet; it has its own site (Figure 3),
where it is possible to gather a lot of information about its history, products, and relationship to
sustainability, etc.
Figure 3 ‐ Rapanui brand’s site. Source: Clothing, 2009.
It also has a strong presence on social media. Rapanui Clothing has Facebook page, which is updated
regularly, and in which transmits the news related to the brand, keeping in touch with its audience. Besides
having profiles on Twitter, Instagram, Google+ and Pinterest, it has its own blog and newspaper, that has a
printed and online version. Another point that could be verified is that the brand has a catalog, in which
shows its products. But no information was found on the participation in fairs, fashion shows or
showrooms.
6. Conclusion
By analyzing the tools/media communication used by the Rapanui, it is perceived that this fashion brand
can further explore the communication strategies that are used, such as advertising of brand promotion
and promoting sales/discounts to encourage consumption. Aditionally, a greater effort can be made on the
part of public relations, which is one of the most effective ways of fashion brands to promote themselves;
the investment in direct marketing; or even he participation in (sustainable) fashion fairs, which is a great
opportunity to showcase the brand to industry professionals.
However, and although much can still be improved, the Rapanui already invests heavily in the use social
media in their promotion, which is an advantage, since a brand that wants to survive in the current market
must have a strong presence in social media and new media. The use of tools connected to the Internet
contributes to the brand to become known and to get closer with their target audience.
Thus can be stated that the Rapanui, after all, has a good communication policy, and it is clear that it is
achieving to transmit to its target audience its values as a sustainable fashion brand, the concepts that
defends and the way how it contributes to sustainability. In this sense, it can be said that to be a
sustainable fashion brand, Rapanui Clothing must prioritize the communication of sustainability, and should
even have a clear and educational role next to its audience, since sustainability is a growing concern by part
CIMODE 2016 - 3º Congresso Internacional de Moda e Design | ISBN 978-972-8692-93-3 458
of society. Making of this flag (sustainability) a differential for the brand, which is a powerful
communication tool, contributing to the company become competitive and certainly more economically
sustainable.
Acknowledgements
This work is financed by FEDER funds through the Competitivity Factors Operational Programme ‐
COMPETE and by national funds through FCT – Foundation for Science and Technology within the scope of
the project POCI‐01‐0145‐FEDER‐007136.
Bibliography
Araújo, M., 2014. Marcas de moda sustentável: critérios de sustentabilidade e ferramentas de comunicação.
Guimarães: Universidade do Minho.
Argenti, P., 1998. Corporate Communication. Boston: Irwin McGraw‐Hill.
Berlim, L., 2012. Moda e Sustentabilidade uma reflexão necessária. São Paulo, Brasil: Estação das letras e cores.
Clothing, R., 2009. About. [Online] Available at: http://rapanuiclothing.com/about/ [Accessed 10 outubro 2014].
Lipovetsky, 2007. A felicidade paradoxal: ensaio sobre a sociedade de hiperconsumo. São Paulo: Companhia das letras.
Macedo, L., 2012. Comunicação Estratégica para a Sustentabilidade. In XXXV Congresso Brasileiro de Ciências da
Comunicação. Fortaleza, 2012. Intercom.
Morais, J., 2011. O mix de comunicação das marcas de moda. Exedra Revista Científica Escola Superior de Educação de
Coimbra, pp.107‐26.
Morais, C., Carvalho, C. & Broega, A.C., 2011. A design tool to identify and measure the profile of sustainable
conscious fashion costumer. In Autex. Mulhouse, 2011.
Rech, S. & Souza, R., 2009. Ecoluxo e sustentabilidade: um novo comportamento do consumidor. In Anais do XIX
seminário de iniciação científica., 2009. V Jornada de iniciação científica.
Refosco, E., Mazzotti, K., Sotoriva, M. & Broega, A.C., 2011. O novo consumidor de moda e a sustentabilidade. In VII
Colóquio de Moda. Maringá, 2011.
Ruão, T., 2000. A comunicação de imagem. Um estudo de caso. Cadernos do Noroeste, 14(1‐2), pp.1‐19.
Vásquez, R., 2007. Identidade de marca, gestão e comunicação. Revista Brasileira de Comunicação Organizacional e
Relações Públicas, 4(7), pp.201‐11.
Valente, S., 2008. Luxo sustentável: a nova estratégia de mercado premium. In X Congresso de Ciências da
Comunicação no Nordeste. São Luís, 2008. Intercom.
CIMODE 2016 - 3º Congresso Internacional de Moda e Design | ISBN 978-972-8692-93-3 459